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LostArtPress on InstagramKris uses the John Brown/Chris Williams method for shaving a round tenon. Today’s class: Staked High Stool.Sharp fixes everything. Even the saddle of a curly oak seat. Still thankful to the guy who showed me how to sharpen card scrapers 23 years ago.December of 1802 was Fisher’s first foray into chairmaking. After making a “rack for chair backs,” he constructed a “shaving jack” on which he “shaved chair backs.” The term “shaving jack” appears to be unique to Fisher but the immediate context of beginning to shave chair parts after its completion suggests the tool is what is today commonly known as a “shaving horse.” The use of the word “jack” to describe a workshop appliance has its etymological roots in the fact that “Jack” was a name for “‘any common fellow,’ and [was] thereafter extended to various appliances which do the work of common servants” such as holding things for the master craftsman. Readers may be familiar this kind of usage in the term “board jack” – a tool used to hold up the end of a large board for edge planing. Because Fisher does not record making any other shaving horse, it is assumed this is the one he refers to. The design is suited to chairmaking because of its dumbhead design – large enough for that kind of work but not much more. The head is mortised off-center to maximize the clamping area on the proper left side. The head’s grip on the stock was enhanced by the addition of leather strips nailed on only that side. It is obvious that the far end of the horse was used as a chopping block for quite some time because of a dished area almost a foot wide and several inches deep made by an axe. Evidently, Fisher was not precious about his tools. This pre-industrial irreverence toward workbenches was rooted in the craftsman’s pragmatism. — from “Hands Employed Aright: The Furniture Making of Jonathan Fisher (1768-1847)” by Joshua A. Klein #Hands_Employed_Aright
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Category Archives: With All the Precision Possible
At Lost Art Press, we don’t enter contests or seek awards for publishing, design, woodworking or… anything, really. (The reason we don’t do this is complicated. Buy me a bucket of beer some time, and I might tell you.) Despite … Continue reading
A week or two ago, I put up a short post and video about “The Other Roubo Bookstand,” a project taken from the plate 331 of André Jacob Roubo’s “l’Art du Menuisier,” scaled to hold the beautiful deluxe edition of the … Continue reading
This is an excerpt from “With All the Precision Possible: Roubo on Furniture” by André-Jacob Roubo; translation by Donald C. Williams, Michele Pietryka-Pagán & Philippe Lafargue. So Roubo could not very well do a comprehensive book on furniture making without including some mention … Continue reading
This is an excerpt from “With all the Precision Possible: Roubo on Furniture” by André-Jacob Roubo; translation by Donald C. Williams, Michele Pietryka-Pagán & Philippe Lafargue. Once the mouldings are cut, you finish them, that is to say, you shape them on … Continue reading
Before I travel, I make enormous lists of everything I need to do before I depart. At the end of each of these lists I should add this item: Get dumped on. Less than 24 hours before getting on a … Continue reading
This is an excerpt from “With All the Precision Possible” by André-Jacob Roubo, translation by Donald C. Williams, Michele Pietryka-Pagán & Philippe Lafargue. The following text is part of an essay about Roubo’s workbenches written by Christopher Schwarz. One … Continue reading